By R.M. CAMPBELL, SEATTLE POST-INTELLIGENCER DANCE CRITIC

Published 10:00 pm, Sunday, November 10, 2002

There was much to admire with Pacific Northwest Ballet on Saturday afternoon at the Mercer Arts Arena: the choreography and the dancing.

Three great 20th-century works formed the rock of the program: Balanchine's "Concerto Barocco," Jose Limon's "The Moor's Pavane" and Glen Tetley's "Voluntaries." Stepping a brave foot into this company was Paul Gibson, a principal in the company, with a new work titled "Rush." He succeeded, with a cunning combination of seeming abandon and utter focus.

The dancing was excellent, even exhilarating, beginning with Jodie Thomas, Jordan Pacitti and Mara Vinson and the eight-member corps in "Concerto Barocco" and concluding with the splendid Patricia Barker and Christopher Maraval in "Voluntaries."

Gibson came to Seattle from the San Francisco Ballet in 1994. He was always a good dancer, but his real calling may be as a choreographer. "Rush" is his second ballet for PNB, and it is light years away from his first. He has learned good lessons from George Balanchine and incorporated them into his work: attention to music -- Martinu's Double Concerto -- and to form.

This is a large-scale work, the sort that would make many fledging choreographers anxious. Gibson showed his control and imagination and flair in every step. Only in the last movement, did he seem to flag a little.

"Concerto Barocco" is not easy: If the performance is too careful, its sense of spontaneity is ruined and if too loose, its sense of rigorous beauty is lost. The work has been in the company's repertory for nearly 25 years, but I can't remember when I have seen it danced with greater clarity, seamless phrasing and elegance.

Limon's "Moor's Pavane" is also well-established in the repertory, although I have always thought PNB did not supply sufficient weight and gravity. It worked on Saturday primarily because of Olivier Wevers in the Iago role.

One of the most charming, talented and versatile members of PNB, Wevers could not have been more compelling -- at once decisive and articulate. He dominated the performance.

Louise Nadeau in the Desdemona role was beautiful and vulnerable but distant. Paul Gibson was not strong as the Moor. Erin Joseph gave a fine, young performance in the Emilia role.

PNB is an old hand with "Voluntaries," but none better than the electric and poignant Saturday afternoon performance.